Prise de Bec (2019) Painting by Aurélie Quentin

Fine art paper, 8x8 in
  • Original Artwork (One Of A Kind) Painting, Oil on Linen Canvas
  • Dimensions Height 39.4in, Width 39.4in
  • Framing This artwork is framed (Floating Frame)
  • Categories Paintings under $5,000 Figurative
Portrait figuratif d'un fille, au style afropunk, allongée sur un canapé en bois. Sa main droite tient a la fois une cigarette et sa tête, sa main gauche, elle, tient une petite perruche verte. On ne sait pas trop comment ce volatile s'est retrouvé dans cette mauvaise posture. La fille semble soûlée par l'animal qui est peut-être venu[...]
Portrait figuratif d'un fille, au style afropunk, allongée sur un canapé en bois. Sa main droite tient a la fois une cigarette et sa tête, sa main gauche, elle, tient une petite perruche verte. On ne sait pas trop comment ce volatile s'est retrouvé dans cette mauvaise posture. La fille semble soûlée par l'animal qui est peut-être venu l'importuner dans cet instant d'oisiveté parfait. L’irrévérence de l'expression du personnage est accentuée par la nonchalance de la pose. Dans le fond de la pièce, on aperçoit des plantes tropicales devant un mur en velours mauve du plus bel effet. Au sol, le tapis de zèbre n'est pas en reste. La pièce est inondée par la lumière du soleil couchant. Cette dernière confère à la robe rouge de la fille un éclat presque indécent.
Une Peinture - Un Son : Kool G Rap & Dj Polo - III Street Blues
Peinture disponible début novembre mais réservable. Cote de l'artiste consultable dans biographie.

Figurative Portrait of a girl, in the afropunk style, lying on a wooden couch. Her right hand holds both a cigarette and her head, her left hand, holds a small green parakeet. It is not clear how this bird ended up in this bad position. The girl seems bored by the animal who may have come to disturb her in this moment of perfect idleness. The irreverence of the character's expression is accentuated by the nonchalance of the pose. In the back of the room, one sees tropical plants in front of a wall of purple velvet of the most beautiful effect. On the ground, the zebra mat is not left behind. The room is flooded with sunlight. The latter gives the red dress of the girl an almost indecent shine.
A Painting - A Song : Kool G Rap & Dj Polo - III Street Blues
Painting available in early November but bookable. Rating the artist available in biography.

Related themes

OiseauxBirdChilOisivetéEnnui

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Aurélie Quentin, a French artist with Italian and Russian roots, was born in 1984 and spent her formative years on the tropical island of La Réunion, near South Africa.[...]

Aurélie Quentin, a French artist with Italian and Russian roots, was born in 1984 and spent her formative years on the tropical island of La Réunion, near South Africa. After obtaining a degree in Architecture in Paris, she redirected her creative expression towards painting, particularly using large figurative portraits as her canvas. Aurélie Quentin's chosen medium, oil painting, becomes a conduit for portraying a rebellious and diverse youth set against urban and often tropical backdrops.

Her work is enriched by the vibrant kaleidoscope of tropical colors, the raw intensity of light, and the delicate nuances it brings forth. Quentin's art captures the essence of everyday life, showcasing moments of leisure that are elevated and immortalized on canvas. Within her compositions, there is a subtle incongruity—a critical commentary on the standardization of taste.

Aurélie Quentin deliberately selects models that embody multiracialism, considering it the epitome of human beauty, a characteristic abundantly present in Reunion Island. Her subjects, set in "everyday life" scenes, emanate a sense of self-awareness, engaging in a dialogue with the observer. Their attitudes exude a hint of disdain and irreverence, conveying a sense of living in the moment, free from societal expectations. The nonchalant poses, though potentially perceived as provocative, serve as an homage to the comfort of the present moment, challenging outdated norms of decency.

In Quentin's artistic narrative, her characters embrace the art of doing nothing—a concept once celebrated by philosophers throughout history but now taboo in a world dominated by productivity. Her paintings serve as an allegory of unapologetic leisure, portraying a youth that defies societal pressures and embraces the simplicity of happiness. Through the strokes of her brushes, Quentin immortalizes a "state of being" that reclaims nobility for moments of idleness—the very time that births activity, innovation, and creation, allowing individuals to break free from the constraints of a productivist societal dogma.

Contemplating Aurélie Quentin's work invites viewers to reflect on the right to leisure, the right to lightness, and the value of "lost time" in a world consumed by constant motion and productivity. Her art becomes a visual manifesto, encouraging a reconsideration of the importance of embracing moments of repose and reflection in the pursuit of a more fulfilling existence.

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